Candidates usually practice alone before the exam, and few people listen to you recite in the audience. But actually going to the examination room is different. A group of about 20 students, standing in the center of the stage one by one, is inevitably nervous. However, the more this time, the more candidates should be calm and confident, and eliminate all other thoughts. Aside from your own performance, what should I do if the examiner doesn't like to recite the article, will you pass, will the examiner like me, and so on. Imagine yourself as the best, the best. As long as you concentrate on reciting, be sincere and be fully prepared, you will certainly get good grades.

2. Cut "Wen Diao" recitation

The so-called "literary tone" refers to the lack of true feelings about the recited works and the deliberate search for the recited tone. Such as deliberately dragging the cavity, tossing the voice, and lengthening the voice. These problems must be eliminated. In the examination room, candidates don't need to recite the whole text from the moment they begin to recite, so the examiner will soon know whether you have carefully analyzed the work you want to recite, whether you have carefully understood the background of the times when the author wrote this article, and whether you really understand the central idea that the author wants to express. If the preliminary work is not done well, then your recitation is bound to be sloppy, that is, without feelings.

3. Body movements should be organically combined with recited works.

In the recitation test, there is no rule that candidates can only recite mechanically standing up. Some works can be supplemented by appropriate formal rest movements. However, in the current exam, we often meet some candidates to add some gestures and actions, which will not only give extra points to recitation, but also make the examiner feel redundant and dazzling. Body movements in recitation are necessary, but they only play an auxiliary or emphasizing role in your recitation. You can't let body movements usurp the role of the master, nor can you perform graphic body movements. So, how can we correctly combine body movements with recitation works? This is inseparable from the influence of the prescribed situation.